FROM Tuesday, Cypriots will have a unique opportunity to view part of their cultural heritage – Greek Mythology – as seen through the eyes of the royal weavers of the 17th and 18th century French court.
The exhibition at Limassol’s Evagoras Lanitis Centre, entitled ‘Weaving the Greek Myths’, will feature large tapestries from the collection of the Museum of Fine Arts in Paris. These extraordinary tapestries, created in Brussels and Paris, were exhibited last year in Athens at the Stathatos Mansion. Now, they have to come to Limassol.
Landing such an exhibition is a major coup for the Evagoras Lanitis Centre, which is just one year old. The centre’s director, Catherine Nikita, told the Sunday Mail how extraordinary it was to have these tapestries in their possession. “As soon as I saw them in Athens last year I said to myself: we must show these in Cyprus,” said Catherine.
“The tapestries have only ever left Paris to be exhibited in Greece and now after using diplomacy and collaboration with the French Embassy and the Ministry of Culture we have managed to get hold of these prestigious tapestries,” she said.
“We had to sign a big agreement, 15 pages long actually,” she added.
So why are these tapestries so precious? Textiles are extraordinarily fragile; these have been preserved since the 17th and 18th centuries. “They are in extremely good condition, as the Gobelins Factory where they were originally created still exists, so it has been fairly simple to restore them. Some of the colours have faded, but not much, as the colours they used in Brussels for these tapestries were very bright and strong, so the vibrancy is amazing,” said Catherine.
Some of the tapestries were woven with gold thread, but over the years the gold has disappeared. However if you look very closely, you can see signs of its presence.
These tapestries were based on Greek mythology. Europe at the time was fond of using Greek culture to represent its own power and the subject was considered an important topic of art.
Tapestries were often commissioned by the King or the church. Very rarely were tapestries made for anyone but the King, because they were highly expensive and could take up to three to four months to make. Royal tapestries were woven from gold, silver, and silk threads.
Tapestries were an important part of monarchy and the court at the height of its grandeur. They were not works of art as such, and were in fact often copies of paintings. They were often an expression of political and diplomatic might. Indeed, in one set of tapestries featuring Alexander the Great, King Louis XIV had his face portrayed that of Alexander.
It was artist Charles Le Brun, who supervised the decoration of Louis XIV’s Palace of Versailles – the symbol of the Sun King’s power – who controlled the factories where the tapestries were made. “The second series of tapestries was an original creation by Jean Van Orley and inspired by the myth of Achilles. Another couple of the tapestries we have were based on paintings from the Louvre,” said Catherine.
“Unfortunately many of the tapestries from as far back as the 12th century have disappeared. There are only objects from the 14th century. We feel very fortunate to have these exquisite tapestries from the 17th and 18th century here in Cyprus,” said Catherine. “This will give the Cypriot public the chance to get in touch with tapestries and to come to understand their meaning and beauty. They have never been a part of our culture here, but we can connect with them as they represent Greek Mythology, our heritage.”
Another unique aspect of these wall hanging tapestries is their size. Some of the tapestries are three metres by three; others are an enormous five metres wide and three high.
“Imagine standing before these tapestries. It is really something to see,” said Catherine.
The tapestries were woven at the Gobelins Factory in Paris and in Brussels. The Gobelins factory was founded in the 15th Century by Jean Gobelin and was later purchased by Louis XIV who made Le Brun director in 1662, when the factory created these royal tapestries that have lasted to this day. The Gobelins has always been renowned for its use of dyes, craftsmanship and quality materials, producing some of the most outstanding tapestries of all time.
Asked how much the tapestries were worth, Catherine just laughed. “I can’t tell you that!” she said. “They are worth a lot of money. They belong to the Museum of Fine Arts in Paris and I think they are pretty keen to get them back. I am surprised they could part with them at all! We are very honored to have these tapestries, and, yes, they are of major value.
“I think we were allowed to bring them to Cyprus because of the connection between the tapestries and Greek Mythology. They mean something to our culture,” Catherine added.
The tapestries may have been produced in Paris and Brussels, but in a sense they are coming home… to the land of their inspiration.
The exhibition opens on November 18 and lasts until January 18, 2004. Opening hours, 10am-1pm and 3-9pm.
The centre will also be holding a series of lectures and workshops for adults and children to learn more about the tapestries.
On November 26, a lecture will be given by Mimi Sophocleous on ‘Reading tapestries through a political lens’.
A workshop will be held for children between the ages of eight and 12 at which they will be able to paint and be in touch with the tapestries by creating their own myth. Another workshop will be given to teenagers on how to build a masterpiece and to teach them to read tapestries, not as art, but as politics.
The exhibition is sponsored by the Ministry of Education and Culture, the CTO, Cyprus Airways and NP Lanitis.
For more information call 25-342123 or visit www.evagoras-lanitis-centre.org
A history of tapestry
TAPESTRIES have been woven in many diverse cultures since ancient Egyptian times. Exquisite and detailed tapestries covered the Parthenon’s walls, but it was the French who mastered the art of tapestry making during the 13th and 14th centuries. However, few of these original tapestries remain. The series of tapestries of the Apocalypse of St. John still remain, which was created in the 14th Century in Paris.
Tapestries were status symbols among the aristocracy and were commissioned by kings with two purposes. The first was to represent the Monarchy’s ultimate power, which is why so many of the tapestries were based on Greek Mythology. But they also had a practical purpose, to insulate the walls and keep the castle warm.
Tapestries have been seen by the world as the ultimate form of literary expression. They have told tales of the Greeks, Romans as well as the Old and New Testament. Tapestries are still being made today, but not as many as before. With so many other forms of art and expression in the modern world, tapestries are no longer as grand or considered as prestigious as they once were. The Gobelins Factory in Paris is still open and continues to create tapestries.
